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| Rhapsody |
| Lee Konitz |
| első megjelenés éve: 1993 |
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| (1995)
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CD |
| 5.102 Ft
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| 1. | I Hear a Rhapsody
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| 2. | Lo-Ko-Mo-And Frizz
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| 3. | The Aerie
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| 4. | Trio, No. 1
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| 5. | All the Things You Are
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| 6. | Exposition
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| 7. | Flyin'-Mumbles and Jumbles
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Jazz / Cool, Post-Bop
Lee Konitz - Sax (Tenor), Sax (Soprano), Producer, Scat, Sax (Alto)
Ben Allison Bass
Paul Bley Piano
Jay Clayton Vocals
Joe Clayton Vocals
Bill Frisell Guitar
Jimmy Giuffre Clarinet
Joe Lovano Alto Clarinet, Soprano Saxophone, Tenor Saxophone
Helen Merrill Vocals
Paul Motian Drums
Gerry Mulligan Baritone Saxophone
Judy Niemack Vocals
Gary Peacock Bass
Jean Francois Prins Guitar
Peggy Stern Piano
Clark Terry Flugelhorn, scat, Vocals
Jeff Williams Drums
Francis Davis Liner Notes
Katsuhiko Naito Engineer
Yoichi Nakao Executive Producer
Edward VanLandeghem Pre-mastering Engineer
Tomio Yoshizawa Photography
Recorded in various studio sessions in 1993, this CD features Lee Konitz playing free with seven different groups of very talented musicians, including flugal horn player Clark Terry, baritone saxophonist Gerry Mulligan, pianist Peggy Stern, vocalist Helen Merrill, vocalist Judy Niemack, guitarist Jean Francois Prins, saxophonist Joe Lovano, guitarist Bill Frisell, drummer Paul Motian, clarinetist Jimmy Giuffre, pianist Paul Bley, bassist Gary Peacock, vocalist Jay Clayton, bassist Ben Allison, and drummer Jeff Williams.
Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano and tenor Joe Lovano (switching between tenor, alto clarinet and soprano), guitarist Bill Frisell and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie" and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern...a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by a 19-minute exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley and bassist Gary Peacock; their different approaches never really mesh together...The final performance, an extroverted duet by Konitz (on soprano) and flugelhornist Clark Terry (titled "Flyin' -- Mumbles and Jumbles") adds some...humor to the set...One can admire Lee Konitz for still challenging himself after all this time, some of the drier material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. ~ Scott Yanow, All Music Guide
Lee Konitz
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 13, 1927 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Cool, Post-Bop
One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill's Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis's Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton's Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo. Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the late '70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee. And in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto.Konitz has led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy.
---Scott Yanow, All Music Guide |
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